Trivia: Born in England but raised in Germany, Henry Victor began his film career in 1916. During the silent era, the tall, muscular Victor played leads in such literary adaptations as Portrait of Dorian Gray (1917) and She (1925). When talkies came in, Victor's thick Teutonic accent precluded future leading roles, though he enjoyed a substantial career as a character actor, specializing in brutish Nazis during WWII. Henry Victor's best-known talkie roles include the sadistic strong-man Hercules in 1932's Freaks and the beleaguered Nazi adjutant Schultz in the Ernst Lubitsch classic To Be or Not to Be (1942).

Trivia: Dick Purcell was a good-natured, athletic leading man in the Regis Toomey/Lyle Talbot mold, so it seemed natural that he'd end up at Toomey's and Talbot's mutual stamping grounds of Warner Bros. For four years, Purcell was the uncrowned king of Warners' B-picture unit. After several handsome but unmemorable "hero" assignments, Purcell demonstrated a breezy gift for comedy as movie studio functionary Mackley Q. Greene in W.C. Fields' The Bank Dick (1940). Thereafter, it was back to Dick-the-stick leads and villains at Republic and Monogram. Dick Purcell's last film role was the title character in the 1943 Republic serial Captain America; one year later, he died of a heart condition at the age of 35.

Trivia: Tall, alluring actress Joan Woodbury was a professional dancer in the Los Angeles area before entering films in the early '30s. Almost exclusively confined to B-pictures, Woodbury had few pretensions about her "art" and disdained any sort of star treatment; while being interviewed for the leading role in the independently produced Paper Bullets (1941), Woodbury ignored the fact that the producers couldn't afford any office furniture and sat on the floor. While she claimed to have never made more than 300 dollars a week as an actress, Woodbury was a thorough professional, treating even the shabbiest assignment as a job of importance. She was proudest of the time when, while starring in the Columbia serial Brenda Starr, Reporter (1945), she prevented the film from going over budget by performing a complicated five-minute scene in a single take -- which earned her a spontaneous round of applause from the crew members. After retiring from films in the 1960s, Woodbury organized and maintained the Palm Springs-based Valley Player's Guild, staging plays which featured other veteran performers. Joan Woodbury was married twice, to actor/producer Henry Wilcoxon and actor Ray Mitchell.

Trivia: Appropriately nicknamed "Google Eyes" by his childhood friends, African-American actor Mantan Moreland joined a carnival at 14 and a medicine show a year later - and both times was dragged home by juvenile authorities. Most of Moreland's early adult years were spent on the "Chitlin Circuit," the nickname given by performers to all-black vaudeville. After a decade of professional ups and downs, Moreland teamed with several comics (notably Benny Carter) in an act based on the "indefinite talk" routine of Flournoy and Miller, wherein each teammate would start a sentence, only to be interrupted by the other teammate ("Say, have you seen...?" "I saw him yesterday. He was at..." "I thought they closed that place down!"). Moreland's entered films in 1936, usually in the tiny porter, waiter and bootblack roles then reserved for black actors. Too funny to continue being shunted aside by lily-white Hollywood, Moreland began getting better parts in a late-'30s series of comedy adventures produced at Monogram and costarring white actor Frankie Darro. The screen friendship between Mantan and Frankie was rare for films of this period, and it was this series that proved Moreland was no mere "Movie Negro." Moreland stayed with Monogram in the '40s as Birmingham Brown, eternally frightened chauffeur of the Charlie Chan films. The variations Moreland wrought upon the line "Feets, do your duty" were astonishing and hilarious, and though the Birmingham role was never completely free of stereotype, by the end of the Chan series in 1949 Monogram recognized Moreland's value to the series by having Charlie Chan refer to "my assistant, Birmingham Brown" - not merely "my hired man." Always popular with black audiences (he was frequently given top billing in the advertising of the Chan films by Harlem theatre owners), Moreland starred in a series of crude but undeniably entertaining comedies filmed by Toddy Studios for all-black theatres. The actor also occasionally popped up in A-pictures like MGM's Cabin in the Sky, and worked steadily in radio. Changing racial attitudes in the '50s and '60s lessend Moreland's ability to work in films; in the wake of the Civil Rights movement, a frightened black man was no longer considered amusing even by Mantan's fans. Virtually broke, Moreland suffered a severe stroke in the early '60s, and it looked as though he was finished in Hollywood. Things improved for Moreland after 1964, first with a bit in the oddly endearing horror picture Spider Baby (1964), then with a pair of prominent cameos in Enter Laughing (1968) and The Comic (1969), both directed by Carl Reiner. With more and more African Americans being hired for TV and films in the late '60s, Moreland was again in demand. He worked on such TV sitcoms as Love American Style and The Bill Cosby Show, revived his "indefinite talk" routine for a gasoline commercial, and enjoyed a solid film role was as a race-conscious counterman in Watermelon Man (1970). In his last years, Mantan Moreland was a honored guest at the meetings of the international Laurel and Hardy fan club "The Sons of the Desert," thanks to his brief but amusing appearance in the team's 1942 comedy A-Haunting We Will Go (1942).

Trivia: Stocky, officious American actor Guy Usher made a spectacular film debut in The Penguin Pool Murder (1932), playing the drowned victim of the titular crime. Many of Usher's subsequent roles required a great deal of fluster and bluster: As land-developer Harry Payne Bosterly in It's a Gift (1934), he dismissed W.C. Fields by bellowing, "You're drunk!," whereupon Fields put him in his place by responding, "And you're crazy. But tomorrow I'll be sober, and you'll always be crazy." Usher also appeared as D.A. Hamilton Burger in the 1934 Perry Mason adaptation The Case of the Black Cat. In the late '30s-early '40s, Guy Usher was a mainstay at Monogram Pictures, again specializing in murder victims.

Trivia: Although a strong presence in the (still extant) Oscar Micheaux drama Symbol of the Unconquered (1920), gaunt-looking African-American performer Leigh Whipper had to wait 23 years for a second screen role truly worthy of his not inconsiderable talents, that of the preacher Sparks in The Ox-Bow Incident. Whipper, who has been credited with being the first black member of Actors Equity and the founder of the Negro Actors Guild, had done much better on Broadway, where he starred in the 1929 revival of Porgy, wrote and starred in the short-lived Yeah Man (1932), and originated the part of Crooks in Of Mice and Men (1937), a role that he re-created in the 1939 screen version. Arguably the finest African-American actor of his generation -- and one of the finest performers in the history of American theater -- Leigh Whipper was awarded the prestigious Oscar Micheaux Award in 1974. In the 1990s, The Philadelphia International Film Festival instituted an award in his honor.